Customer Reviews

Berlioz - Les Troyens / Levine, Troyanos, Norman, Domingo, Metropolitan Opera [VHS]

5 star:		(9)
4 star:		(5)
3 star:		(0)
2 star:		(2)
1 star:		(3)

 

 

I wasn't very sure if I would like this production, being one of the series of the dreadful Pioneer Classics. Their products of opera from the Met have always disappointed me. Well, this time I'm glad I bought it. The quality of picture isn't any better than the others made by Pioneer Classics, but, the sound quality is really good. Levine seems to be very much inspired and gives the most mesmerizing (or maybe "haunting" is the proper word) performance. The singers are all great. The decor and the costumes leave a lot to be desired, though, you can forgive that thanks to the fine musical performance. The ballet isn't that bad as other reviewers criticize. The acting is also okay, especially Jessy Norman gives a powerful performance. Domingo and Troyano's duet "Nuit d'amour et d'extase infinies" will melt your heart. The Royal Hunt and Storm is haunting. There are so many great tunes and lush music. What a great opera! This opera lasts more than 4 hours (253mins) and it's all on one side of DVD. The price is a real bargain compared to the CD recordings which are all on 4 separate discs. Even if the disc is produced by Pioneer Classics, it still deserves 5 stars for the mesmerizing performance and the great music.

When Berlioz chose to compose his last opera after Virgil's Aeneid, one of his goals was to compete with Wagner's then growing project: the now widely famous "Ring des Nibelungen". What came out of it is, to me, some of the most powerful and beautiful music ever composed. The strength and beauty of expression in this opera feels equal, if not superior, to that of Verdi's Otello, Strauss' Elektra, or Wagner's greatest works, and feels deeper than either. As Gluck's greatest supporter, Berlioz was the only one who could continue the operatic tradition of French mythological "lyrical tradedy". But "Les Troyens" is much more than a "nostalgia attack"; it is the apotheosis of a tradition, as well as a worthy contender against Wagner's system (which Berlioz judged useless and nonsensical). And it contains many moments of such beauty, of Virgilian pathos, that even a life-long wagnerite can appreciate.

This can also be explained by Berlioz's tremendous personal involvement and thematical deepness. Its theme bears many similarities to Victor Hugo's "Les misérables"; except that in this case, the great force that drowns persons in misery is not society, but fate. Not "fate" as in "luck", but as the unstoppable advancement of humanity. Berlioz, in it, takes the side of all those peoples who have to suffer because of this "advancement". In the utter solitude he ended his life (his two wives and his only son being both dead, his music unpopular in Paris, and his best friend Liszt supporting Wagner), Berlioz had all the rights to feel as abandoned as his characters, and you feel it all throughout the work.

Regarding the performers, Jessye Norman, as Cassandra, proves very convincing when it comes to portraying the prophetess who is the only one to know of Troy's misfortune, without being able to prevent it. She truly becomes this wretched victim who knows what will happen to her collapsing world when she sings her aria "Malheureux roi", or her subsequent, not-so-love duet with her lover Coroebus. However, her French diction leaves a bit to be desired, which may get annoying though not a big hindrance. Still, don't worry about it if your first language is not french, you'll probably only notice her wonderfully lyrical voice.

The young Placido Domingo, as Aeneas, is also very believable as the young hero, son of Venus, who has an important mission to complete for the sake of his people. He looks both young and manly, and though he must lower the notes of a few of his interventions, his intense lyricism makes him very convincing, and allows some great musical moments. He gives an overall believable portrayal of the "pious Aeneas", burdened with his un-forfeitable mission, especially in his aria "Inutiles regrets", stunning in psychological insight; being given it is only then that you can see the man behind the hero. It is the only time where he is left to himself, and we finally fully see through him (for even when he chooses to live his love with Dido, his mission is unable to get off his mind. And Dido feels it, as it is shown in the beautiful love-duet "Nuit d'ivresse et d'extase").

Tatiana Troyanos, as Dido, seems almost born for the role (just look at her last name!). She is both noble and full of dignity as a queen, and incredibly heart-rending as a rebellious victim of her love. Some other reviewers have said they would have preferred to hear Norman, but Troyanos' acting talents are so perfect, and her depiction of Dido's despair and vain opposition so moving that I don't think Norman could have done better. And, giving two such different characters the same face is nonsense. Troyanos is completely believable, from beginning to end. From the start, Aeneas and Dido knew their love was not made to work. They knew it, but they chose to live their love as much as they could, in open rebellion against the order of things. All of this can be read upon her face, during the final scene.

The supporting cast gives, overall, a very good performance. Everyone does his/her best, and it is more than enough to breath life into Berlioz's wonderful score. Levine's conducting makes you feel both the nostalgia and distress of the whole work, and his orchestra envelops it in its epic aura.

The staging, rather simple and un-colorful, only partially goes with Berlioz's original idea. The worst thing about it is when the Trojan horse enters Troy at the end of the first act: we only see its head making a circle around the stage. Also, in the middle of the opera, where instead of seeing a mob of peoples receiving golden tools in association with their respective duty, you see three dancers receiving geometric figures. However, this thing about the big crowns another reviewer talked about is grossly exaggerated. Overall, I'd say it is a sufficiently effective and sober production (and a very good staging, if you compare it to what Salzburg made of "La damnation de Faust").

The sound on the one dvd is NTSC. The subtitles are only in English and the translation is merely functional. It's a bit of a problem if French is your first language (like me), since no one has a perfect diction. Having the libretto with you can come in handy. You can find it on the internet.

Overall, though it is not the definitive version, it is the best right now. And, believe me, it's worth your money. As far as I'm concerned, it gives you all you could ask for in an opera. The music is so heart-wrenching that it makes my other opera dvds (which go from "L'Orfeo" to "Le dialogue des Carmélites") almost pale in comparison. Seriously, if catharsis is your thing, if crying is your thing, buy this dvd now. It is a great gift to give yourself, or any opera fan that thinks French opera is mainly about "Carmen", "Faust" and "Pelleas et Mélisande".

This is the only video version of Berlioz's masterpiece, and I think it's one of the best performances from the MET series. Levine holds everything together admirably. The chorus is a bit variable, but acceptable. Norman is wonderful, she was born to play Cassandra. She acts impressively and sings with ease and drama. Domingo as Aeneas sounds tired, his voice is too light for this demanding role. From the very start, it's obvious. I think Domingo is great in roles like Alfredo, Riccardo ("Ballo") or Hoffman, not in parts like this. Troyanos as Dido is a marvel, frail yet powerful, moving in the last scenes. And she is physically appealing. Allan Monk is very well cast as Corebus, his beautiful voice fits the part like a glove. Douglas Ahlstedt and Phillip Creech deserve mention. The others sing well too. Perhaps Claudia Catania is a bit shrill, but she performs professionally. The production is very effective, and all the singers move well (though Domingo is a bit uncomfortable even in acting). Video is very good, especially in the love duet. Sound and camera work are first-rate. But, above all, the opera is outstanding, perhaps the gratest French opera ever, superbly orchestrated, touchingly lyrical and powerfully dramatic.

I saw the original broadcast on PBS and bought the VHS tape when it came out. It is overpowering and you will remember Norman's Cassandra forever.

She enters like a great ship, forging across the stage and sings her guts out. The Death of Troy becomes real and her torture becomes your torture: to know the tragedy that will come but no one believes.

Troyanos as Dido, she would not live out the decade.

Buy this and listen and sit in fear.

I fell in love with the story of the Trojan War, even before I sold my soul to classical music. So naturally I was drawn to this production of "Les Troyens." And there are some astonishing moments here! Norman is wildly gripping in the part of Cassandra, totally dominating the stage and the first part of the opera. Domingo makes for a strong, masculine Aeneas, and although he had some doubts about singing the part, does a fine job with it. Troyanos is good, but not as blisteringly magnificent as Norman. I do have some problems with the staging, however. Right from the beginning, which should burst at the seems with wild excitement, we get the Trojans walking out, lining up, and declaiming that they are generally pleased the war is over. Um, couldn't they scurry, dance, hug...? The costumes seem to be of the historical epic type, but the er, "sets" are modernist symbolic. Is that the Trojan Horse they drag within the walls...? But don't get me wrong -- a solid production with some incredible singing, acting, and orchestral playing in a rich, fascinating opera that is too vast to be produced regularly. Very rewarding.

Berlioz's LES TROYENS is a unique grand opera. It really deserves to be heard, but also seen. And with the extraordinary staging demands of this opera, now is the time for the major opera companies of the world to be staging this demanding and rewarding work.

The Metropolitan Opera decided to open its Centennial year with a revival of its 1976 (?) production. The sets are too dark and drab, leaving much to be desired. And the staging is stodgy.

But the music-making is first-rate. I concur with all the other reviewers that Jessye Norman is singularly magnificent as Cassandra. Having also heard an audio recording of her Dido (in a radio broadcast in which she sang Cassandra as well!!), I wish that this video/DVD could have captured Norman's Dido as well. Her rendition of this role is even more remarkable than her Cassandra. MET audiences gave her several-minute-long ovations when she sang Dido in the 83-84 season.

Having said that, Troyanos is still wonderful in this performance. Domingo is also top-notch. However, the role was generally too high for his voice and he had to transpose down entire chunks of the music. The rest of the cast is also great.

James Levine leads a rewarding performance, skilfully conveying the grand drama as well as the subtle details of the score.

I'm looking forward to a new production of this opera at the MET this season. However, the 1983 cast won't be matched for quite a while.

I have to confess that Les Troyens was completely new to me. Friends and musicologists have continued to tell me what a magnificent masterpiece it is, oh the lectures I have had by A'level music students at school when I have failed to mention it in my lecture on the History of Opera as an art form, but until now I have never had the opportunity to see or hear it. So we were very excited when it arrived, and in general we weren't disappointed.

It covers a mamouth canvass and with mythology mixed with history it has a tremendous story. Part I, The Capture of Troy, is just magnificent in every respect of musical structure and dramatic impact. Jessye Norman is faultless, what an artist. This section of the opera could stand alone in the fashion of Act I of Die Walkure. This is an excellent production with an excellent cast. I disagree with am earlier reviewer, I think Placido Domingo is excellent - although I can see why he never attempted the very demading role of Aeneas again.

Part II, The Trogens in Carthage, I feel sometimes looses it's way and dare I suggest perhaps could have been trimmed and tightened up. The ballet sequences, so essential in French Grand Opera, are too numerous and too long and I think unnecessary. The plot rambles a bit too, as does the music. Boito and Verdi proved that an absolute masterpiece can evolve from editing and pruning, look only to Simon Boccagnegra, so I don't think I am being too outrageous here.

Tatiana Troyanos as Dido is not in the same league as Jessye Norman and Domingo, but she is good none the less. Aeneas's decision to leave is fraught with emotion and deserves the ovation, and Dido's sacrifice is very moving.

This is a very good release, and an excellent introduction to people like myself, unfamiliar with the work. I highly recommend it. When it arrives, pour your self some wine, put on your surround sound and immerse yourself in this tragic and moving tale. It was a fitting tribute to the Met in it's Centennial Year, and has proved to be a very satisfying release. I do not hesitate to recommend it to you.

... enjoy grand opera at its grandest. placido domingo, jessye norman and tatiana troyanos never recorded these roles elsewhere, and norman alone justifies this set. her cassandra is a portrayal on the biggest possible scale, overwhelming in close-up, and she's in prodigious voice. the sadly underrecorded troyanos is both regal and moving, and her fury at enee's betrayal is truly scary. though domingo is stretched by his role's stentorian moments, the sheer beauty of his tone shines through, and he looks the part. brian large's direction is alert to the drama and avoids monotony during the show's many stand-and-deliver moments; given plus-size artists in key roles, he shows them to their best advantage. the sound and picture are both crisp, and the opera is amply indexed for easy highlights access. shut your eyes during the dance sequences: the choreography is both dull and badly executed. the rest of the show (over four hours long) will delight you.

I have seen this production at the Met in person twice, and it is a joy to own the DVD. Jessye Norman is perfection as Cassandra. The rest of the cast is superb as well. And Bravo's to the Met Chorus who is as much a star in this opera as any of the soloists.

I love the opera's of Hector Berlioz, who is one of the most important opera composers of the 19th century. His stature is comparable with that Richard Wagner who had been greatly influenced by the older French composer who - like Wagner - preferred to write music to his own words. In fact, I believe "Les Troyens" is one of the greatest opera's ever written and its music has been with me as long as I can remember.

Looking at the reviews of this DVD on Amazon, I was surprised to find out that so many people gave it a good rating. The reason for this - I soon found out - was that almost everybody was blinded by the vocal abilities of J. Norman. I admit that, if we are talking about voices, she is the star of the evening, but let us be honest. She is not much of an actress. Nor is any other member of this cast. Isn't the theatre-aspect in an opera not just as important as the musical-aspect of it?

What we see here is a typical Metropolitan production showing us a lot of stars and a lot of shiny armours, crowded stages and out-dated choreography. Good music, combined with bad theatre. Take Norman's Cassandra, for instance. The role of Cassandra is my favourite and starting at the duet with Chorèbe, until her epiphany at the end of act I, you realise that this woman should be seen suffering from a tragic condition that slowly renders her to despair. Norman is as mad as a hatter from the first moment we see her. There is not much room for development of this character, for a gentle crescendo into her madness.

In the second act, Cassandra should be resolute. She has overcome her tragic blindness (what the Greek called "hamartia"), and understands the fate of her self and her people, but in Norman I could find nothing of this tragic heroine. She continues to overact, to make funny faces, to nearly faint a couple of times, to wave her arms theatrically through the air; not to mention the eyes: I thought they would pop out. I think Norman `overacts' all the way and so do the others of whom I could give similar examples.

The stage-design was extremely conservative, too much kitsch, too tacky. The costumes are outdated about a hundred years and the props look stupid, especially Chorèbes giant axe, that made him look like Gimli in Lord of the Rings. The choreography is immensely static - what do you want, with such a tacky scène and so many people - and lacks any inspiration.

In short, this DVD is too boring to watch. It is old-fashioned, tacky and tasteless. Don't buy it. Instead you could check out Gardiner's production of this opera, made in Paris last year (in the very theatre this opera was written for). That was a brilliant performance. I haven't written a review of that DVD since everything has already been said about it by other Amazon-reviewers. So, if you want, compare the Paris-production with the New York-production. It's day and night!